刘东旭：感知与反应 | 艺术汇 艺术家书

艺术汇：就如戈登·玛塔-克拉克、豪斯拉克科（Haus-Rucker-Co）或者超级工作室，建筑与艺术的跨界似乎总是更容易地搅动着这两个领域沉闷的空气，而对你来说，是什么样契机让你从建筑专业转向了雕塑创作？

刘东旭：不存在这种转向。接触建筑是源于之前工作原因。我的理解是以往雕塑和建筑关系的紧密这是共识，它们有很多相同之处。建筑的外空间是自然，它的内在空间确是室内雕塑的外空间。

建筑为雕塑提供了空间，环境，和位置。而雕塑提供给了建筑所需的内涵，寓意和形象的变化。它是人体验建筑时的情感基调。例如古代的石窟艺术就是一种建筑与雕塑的完美的结合体。当然到现代意义上的雕塑与建筑之间已经没有了附属关系。

艺术汇：近年来，装饰性又成为了建筑界的主流之一，《斜列立面》和《浮光跃金》中重复的组件看上去似乎既是对若干建筑表面装饰的挪用，又同时是对建筑模式的拆解，而你在创作过程中，是否存在着某些预设——例如，是否将作品预设成了雕塑般的建筑？

刘东旭：我没有这样的预设。其实我觉得我只是通过展览作品去还原一种工作状态。至于作品的自身所体现出来的例如建筑表面的装饰性与重复性的特征，我更认同是一种关于个人做出的感知与反应的体现。

艺术汇：这两件作品中的装饰性与重复性再现了你日常生活中的哪些部分？

刘东旭：装饰性和重复性这里对应的是现实生活中人类普遍存在的方式，每天面对的是不断的重复，真实，与冲突。

艺术汇：你在展览中采用了哪些现成品？

刘东旭：展览的作品中借用了魔方，黑胶唱片，蚊香架等等。对我而言现成品的借用可以构成我对日常生活的感知体验。在实践中它可以激活我与周围的环境，人或物的关系，使之产生互动。

艺术汇：我们可以看到，波普之后的艺术家对现成品的加工变得日渐复杂（甚至安迪·沃霍的“布里洛盒子”其实也是对原版的精细仿制）。你刚才提到了生活的感知，而你是如何在创作中处理与再现这种感知的？具体地说，你对现成品以及相关材料进行了什么样的再创作？这些再创作的过程是如何与对生活的感知发生关系的？

刘东旭：人类由科学发明了技术而技术服务人的同时也统治了世界。现代社会技术从起初服务于人类起开始有了自控力逐渐对人产生了索求，人类开始变得慢慢附属于技术。日常物作为人类技术的产物，不断包围和充实着我们的生活，它的存在与我们互相依赖。

我的创作是围绕日常物展开的。我试图剥离日常物的质量，功能性使其打破与脱离固有使用功能从而获能得自身的独立，自存自足成为接近于纯粹的物。

艺术汇：为什么要做出这样的还原？你对此有着明晰的目的吗？还是一种直觉上的反应？

刘东旭：我觉得是出于对材料直觉的反应。

艺术汇：你怎么看待未来技术与社会之间的关系？

刘东旭：技术作为人类了解自身的工具在促使人类不断反思照看自己同时最终会使人类实现关注自身和认识自己的可能。

艺术汇：《斜列立面》和《浮光跃金》有着重复的结构，《遁走》中的两排锯齿也包含着重复性。相比之下，《白色的花》则显得有些特别：它是展览中唯一一件结构单一的、并且连接着墙壁的作品。为什么要做这样的设置？

刘东旭：《白色的花》作品的结构与形式的确立来自于古代器物。这里以物的视角分类古代器物与现代生活的日常物并无区别。

艺术汇：谁对你创作与观念的影响比较大？

刘东旭：亨利·柏格森。

艺术汇：你接下来有什么样的计划？

刘东旭：最近在做些新项目的实施。有涉及对一些新的材料尝试。可能实施时间会较长些。

“日常沟通”望远镜艺术家工作室 展览现场

“日常沟通”望远镜艺术家工作室 展览现场

采访/撰文：奚雷 翻译：盛夏

相关展览：

ART FRONTIER:Taking Gordon Matta-Clark, Haus-Rucker-Co or Superstudio, the interdisciplinary of architecture and art seems to easily stir up the dull air. But for you, how do you initially cross into the field of sculpture from architecture?   

Liu Dongxu:No such crossover exists. I have originally been trained in sculpture, and got involved in architecture because of some projects. As I understand, that sculpture and architecture have close connection is a consensus, they share lots of similarities. 

The external space of an architecture is the nature, while its internal space is virtually the external space of indoor sculptures. Architecture provides sculpture the space, condition and position, in turn, sculpture offers the transformation of content, allegory and form that architecture may need. 

This is the emotional tone experienced by people in an architecture. For example, the antique grotto art is the ideal combination of architecture and sculpture. However, such dependency has gradually disappeared in modern architecture and sculpture.      

ART FRONTIER:Recently, the decorative has again gained momentum in the field of architecture. The repetitive components in your works, The Inclined Facades and The Floating Gold Light, seem to be appropriation of various surface decorations of architecture and deconstruction of architectural mode. Did you preconceive something, such as, conceiving your work as a sculptural architecture?     

Liu Dongxu:I didn’t. Actually, I think that I’m trying to restore a kind of working status through exhibition. For the features represented by the works themselves, such as, the architectural surface decorativeness and repetitiveness, I would rather take them as the personal senses of and responses to daily life. Of course, such perception itself is the life.

ART FRONTIER:Which aspects of your daily life do the decorativeness and repetitiveness in those two works reproduce? 

Liu Dongxu:They are not particularly related to my own life. Here, the decorativeness and repetitiveness correspond to the universal existence of human beings in reality. Everyone constantly faces repetitiveness, truth and conflict every day.

ART FRONTIER:Which kinds of ready-made items do you use in the exhibition?

Liu Dongxu:I have appropriated many ready-made items for my works, such as Rubik’s cubes, vinyl records, stands of mosquito-repellent incense and so on. In practice, they may activate the connections among surrounding environment, people, objects and me, prompting the interactions. 

ART FRONTIER:We have seen that the processing of ready-made items has become more and more complex since the time of Pop, even Andy Warhol’s Brillo Boxes is the imitation of original ones. You have mentioned the perception of life, so, how do you process and reproduce such perception? To be specific, which kinds of recreation do you work on those ready-made items and materials? And, how do the recreation get involved in the perception of life?    

Liu Dongxu:As I understand, humans invent technology through scientific research, in return, technology serves humans but increasingly dominates the world. Technology of modern society has obtained its own willpower from the beginning of serving, and gradually claimed on people, meanwhile, people have become more and more affiliated with technology. 

As the technical products invented by humans, the existence of daily items interwinds with us, resulting in an interdependence relationship, and continuously encircles and enriches our life. My works are derived from these daily items. I attempt to remove their mass, usefulness and functionality, and make them be independent and become the pure objects with own existence.       

ART FRONTIER:Why do you seek such restoration? Do you have a definite aim? Or is it an instinct response?   

Liu Dongxu:I think it is an instinct response on materials. 

ART FRONTIER:How do you think of the future relationship between technology and society?

Liu Dongxu:I believe that with its progress, the future technology as a tool by which humans get understand themselves will inspire the reflection, in the end, humans could achieve the possibilities of concerning and knowing themselves. 

ART FRONTIER:Both The Inclined Facades and The Floating Gold Light have repetitive structures, two rows of sawtooth in Escaping also present the repetitiveness. By comparison, White flower seems to be quite unique: it is the only one with the single structure being attached to the wall. Why do you create such an installation?    

Liu Dongxu:The structure and form of White flower are deviated from antique items. Here, from the perspective of objects, the antique items and modern ones have no difference, but with various distinguished styles. Thus, it is related to others.  

ART FRONTIER:Have your work and idea significantly been influenced by someone?

Liu Dongxu:Bruce Nauman and Henri Bergson.

ART FRONTIER:What is your next plan?

Liu Dongxu:I’m preparing new project recently, and I will try some new materials, such as metal. It may take a long time to work on.

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2019“北京艺术地图”第二期发布

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